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Uzbekistan state university of world languages english language facu
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| bet | 4/8 | | Sana | 06.11.2023 | | Hajmi | 52.19 Kb. | | #94549 |
Bog'liq rasulovx LA LECTURE, Raxmonova Nargiza 2 28 guruhEkonometrikada matematik statiskaning, ММС 60 гурух Рихсибеков Исломбек МОЛИЯВИЙ ВА БОШҚАРУВ ҲИСОБИ Якуний назорат, 1679984021, Ashurov J. I raxbar fikrnomasi, Dars jadvali, BIRJA, ДБ-1ОН-жадваллари, Наивный Байес в деталях Объяснение, umotlar bazalari va, Davlatova Mushtariy Dedlie Media, kamron kurs ishi, 10-sinf Fizika olimpiada uchun, 11-sinf fizika olimpiada uchunLiterary style of Robert Burns
His direct literary influences in the use of Scots in poetry were Allan Ramsay (1686-1758) and Robert Fergusson. Burns's poetry also drew upon a substantial familiarity and knowledge of Classical, Biblical, and English literature, as well as the Scottish Makar tradition. Burns was skilled in writing not only in the Scots language but also in the Scottish English dialect of the English language. Some of his works, such as Love and Liberty (also known as The Jolly Beggars), are written in both Scots and English for various effects.
His themes included republicanism (he lived during the French Revolutionary period) and Radicalism which he expressed covertly in Scots Wha Hae, Scottish patriotism, anticlericalism, class inequalities, gender roles, commentary on the Scottish Kirk of his time, Scottish cultural identity, poverty, sexuality, and the beneficial aspects of popular socialising (carousing, Scotch whisky, folk songs, and so forth). Burns and his works were a source of inspiration to the pioneers of liberalism, socialism and the campaign for Scottish self-government, and he is still widely respected by political activists today, ironically even by conservatives and establishment figures because after his death Burns became drawn into the very fabric of Scotland's national identity. It is this, perhaps unique, ability to appeal to all strands of political opinion in the country that have led him to be widely acclaimed as the national poet.
Burns's views on these themes in many ways parallel those of William Blake, but it is believed that, although contemporaries, they were unaware of each other. Burns's works are less overtly mystical.
He is generally classified as a proto-Romantic poet, and he influenced William Wordsworth, Samuel Taylor Coleridge, and Percy Bysshe Shelley greatly. The Edinburgh literati worked to sentimentalize Burns during his life and after his death, dismissing his education by calling him a "heaven-taught ploughman." Burns would influence later Scottish writers, especially Hugh MacDiarmid, who fought to dismantle the sentimental cult that had dominated Scottish literature in MacDiarmid's opinion.
Burns's style is marked by spontaneity, directness, and sincerity, and ranges from the tender intensity of some of his lyrics through the humour of "Tam o' Shanter" and the satire of "Holy Willie's Prayer" and "The Holy Fair".1
Burns's poetry drew upon a substantial familiarity with and knowledge of Classical, Biblical, and English literature, as well as the Scottish Makar tradition.2 Burns was skilled in writing not only in the Scots language but also in the Scottish English dialect of the English language. Some of his works, such as "Love and Liberty" (also known as "The Jolly Beggars"), are written in both Scots and English for various effects.3
His themes included republicanism (he lived during the French Revolutionary period) and Radicalism, which he expressed covertly in "Scots Wha Hae", Scottish patriotism, anticlericalism, class inequalities, gender roles, commentary on the Scottish Kirk of his time, Scottish cultural identity, poverty, sexuality, and the beneficial aspects of popular socializing (carousing, Scotch whisky, folk songs, and so forth).4
The strong emotional highs and lows associated with many of Burns's poems have led some, such as Burns biographer Robert Crawford,5 to suggest that he suffered from manic depression—a hypothesis that has been supported by analysis of various samples of his handwriting. Burns himself referred to suffering from episodes of what he called "blue devilism". The National Trust for Scotland has downplayed the suggestion on the grounds that evidence is insufficient to support the claim.6
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